Following the controversy over her comeback single “WOMAN’S WORLD,” Katy Perry released “143,” her latest album containing the single along with 10 additional melodies. The album failed to meet my expectations, and differed greatly from Perry’s previous albums which I enjoyed more. Apart from the music itself, one of the producers of “WOMAN’S WORLD,” Dr. Luke, was sued by Kesha in 2014 for sexual assault, undermining the song’s feminist message.
Perry also came under fire for the music video, which featured background dancers in skimpy construction worker outfits, while she cosplayed a sexualized Rosie Revere taking a shot of “whiskey for women.” Perry goes on to grow bionic legs, and includes Trisha Paytas in the video crashing a truck. After receiving backlash from critics claiming the video mocked “girl power” and feminism, she publicly shared that the video was meant to be satirical, begging the question, were the empowering lyrics of the song also satire?
Even if the art is separated from the artist, the songs on “143” lack complexity and are not something I would listen to by choice; although I can envision them being enjoyed by others during the midst of a party or as a hype up song while getting ready. They take up the same electronic, sensual hyperpop tone as “WOMAN’S WORLD” whilst maintaining repetitive and unoriginal lyrics. In total, four collaborations are included, which I found to be generally more compelling than the other tracks because they featured a new voice and change of pace from the other songs.
Following “WOMAN’S WORLD,” the second track of the album, “GIMME GIMME” opens with a rap section by 21 Savage, breaking up Perry’s anticipatory, rhythmic chorus. While I am not personally a fan of rap, I appreciated the variety of tempo that it brought. Other than Savage’s contribution, it failed to be as good as I had hoped, considering its animal themed, uncomfortable lyrics (hence the line “crawlin’ on me like a centipede” or the repeated use of “kitty kitty”) throughout the entire song. Overall, it felt rushed and unfinished.
As I listened to the next song on the album “GORGEOUS,” which is a dynamic, vibrant pop song, featuring singer and songwriter Kim Petras (who is known for her electronic dance music), I immediately noted the smooth and addictive opening backtrack. While the song is extremely repetitive, I enjoy the vocals and the addition of Kim Petras’ voice, which add dimension to the soundspace. The track reminds me of Doja Cat’s music style, emulating her fluid transitions and coruscating editing style.
In “I’M HIS, HE’S MINE,” another collaboration, the same techno feel as “GORGEOUS” persists, whilst Doechii’s rap verse spotlights her soft, rhythmic voice, which I found to improve the overall quality of the music. Despite the nagging “la da di la da da” in the song, it remains one my favorites in the album, thanks to the Doechii’s embellishment.
None of the songs in “143” truly blew me away, although the best song in my opinion was “TRUTH,” which maintained a (slightly) slower, less hyper-edited beat and more genuine meaning. The song shared the message of the importance of maintaining honesty in a relationship, regardless of how hurtful it may be, which is a relevant point in the world we live in. Apart from the lesson it shared, the melody of the backtrack reminded me of Selena Gomez’s “Love You Like a Love Song,” evoking childhood nostalgia.
While some tracks retained a replayable, compulsive chorus, such as “LIFETIMES,” “NIRVANA” and “ARTIFICIAL (feat. JID),” every song contained some parts that were overwhelming and felt like being trapped in a musty, overcrowded room with flashing neon lights. My main fallacy with the album was that almost every single song contained one separate consistent theme, making each seem very one sided and lacking inspiration.
Growing up being an avid Katy Perry fangirl, I was nevertheless dissatisfied by the album. From recalling every lyric to “Roar” and “Firework” at age ten, I continue to nurture a soft spot for her older, sentimental tunes that carried me throughout my childhood. Despite the let down that “143” was, I still believe that there were a few songs that could be enjoyable for some, depending on the circumstance. While she didn’t maintain her original, rollicking, fun-loving and raw tone as seen in her older albums, specifically “One Of The Boys” (my favorite of hers) and “Teenage Dream,” I have to keep in mind that music evolves with time, and that music produced by the industry is molded by the trends that take hold as well as new editing technologies. I accept that Perry’s music style has matured as she has gotten older, although I wish that she maintained the same essence that I enjoyed as a kid. Whilst “143” was most definitely not my most-loved album of Perry, it still deserves a listen for those who enjoy intoxicatingly exuberant melodies and the opportunity to reminisce over a nostalgic artist.
